Nevertheless,
Exhibition: vaudoise photographer stirring her:
Photography. Therefore, prohibition
Image law: a Vaudoise photographer stirred her daughters – Exhibition: vaudoise photographer stirring her
The “faceless” work of the Yverdonnoise Sarah Carp is presented in Arles and published by Actes Sud. Furthermore, Encounter.
“Faceless” by Sarah Carp. Meanwhile, A disturbing series that begins with images of his daughters made during confinement …
Sarah Carp
- The Yverdon photographer Sarah Carp exhibits at Arles meetings.
- The artist transforms the prohibition to use the photos of his daughters in artistic creation.
- Models replace his children in staging with masked faces.
- The book “Faceless” published by Actes Sud explores the limits between reality and fiction.
Today’s art is worked between two poles, not necessarily contradictory. For example, On the one hand, the concept. Meanwhile, On the other, autobiography – and therefore self -fiction. Meanwhile, Few contemporary artists escape this polarity between the cerebral and the ego – except to switch to the decorative.
There are obviously protagonists of the art game who let themselves be less easily classified on this theoretical arch. Consequently, Creators who wind between the ends. Nevertheless, make them dialogue-or contaminate-do not hesitate to go back and forth between the two terms.
Sarah Carp in the art game
Sarah Carp is one of them. Meanwhile, “I think that one of the constant of my work is to find a meaning to the difficulties of. Meanwhile, existence by giving them a positive perspective.” exhibition: vaudoise photographer stirring her The photographer. In addition, seated in a cafe in her city in Yverdon, willingly returns to the side roads and the vagaries that led her to exhibit today Arles Meetingswhile Actes Sud editions publish his book, “Faceless”.
The Yverdon photographer Sarah Carp.
Sarah Carp
“It is life that suddenly brings me a momentum of creation. Moreover, and then I know that I exhibition: vaudoise photographer stirring her will go to the end.” She is still in her twenty. Similarly, between 2008 and 2009, when she accompanies her brother’s illness – to which she gives stem cells – by her presence, but also through her objective in what will become the series “related” donor. For example, “It offered me the opportunity to take a little distance from what was going on. Meanwhile, especially since it was the second brother that I lost in a few years.”
Focal price. Nevertheless, swiss press
Ten years later, she won The focal price – City of Nyon 2019 with “Renaissance”, a look at maternity, its own maternity. Nevertheless, A way of sticking to your privacy is already clearly asserting itself while deviating in a possible fiction. Similarly, A case of framing, telescopages, off-champs. Similarly, This strangeness that Sarah Carp tracks down in exhibition: vaudoise photographer stirring her everyday life. it is found when, confronted with (semi-) confinement, she tackles, in a dynamic similar to that of her previous project, to capture her two daughters in the shade of these days stretched by the coronavirus.
The closet where one of Sarah Carp’s girls liked to take refuge.
Sarah Carp
With images of this series “Parenthèse” then published by “Le Matin Dimanche”. this way of continuing its practice while the world is frozen earned it in 2021 the Swiss Press Award – Photographer of the Year. At the same time. the Yverdonen successfully postulated the Vaudoise photographic investigation, of which the exhibition has just been unveiled at Photo Élysée. An opportunity for her to immerse herself in a completely different universe. since she chooses to document the factors of music and automata by seeking to visually translate the magic that these luxury craft objects evoke.
Workshop by Dominique Mouret, one of Sarah Carp’s images for the Vaudoise photographic investigation.
Sarah Carp
The alignment of the planets seemed to crown the approach of the photographer. But the constellations of existence still reserved surprises for him. His ex-companion refuses the use of his images of their daughters, arguing from their right to the image. It is not up to us here to judge the merits of this appeal in these circumstances. but if this provision intends to protect children, it hampered the work of a mother who counted to publish it.
Image law in question
Sarah Carp is not rebuilt and does exhibition: vaudoise photographer stirring her not seek a judicial decision. “With two parents who have different ideas. I was not going to make the book, it was too complicated for girls.” This obstacle could have turned into a final stroke, but the photographer cannot resolve to abandon it. “My mother status was affected, I was looking for a solution. There were a lot of white nights … The question was: I had photographed the intimacy of my daughters or did I tell a story through this intimacy? ” For the mother and for the artist, the answer is obviously on the side of the second option.
The strange seized in a play of shadows.
Sarah Carp
But he still had to find a way out. After having thought a lot about the question of image law – which she was already confronted almost every day as an image professional regularly evolving in public space -. she first thinks of hiding the faces of her daughters as we blur in the press. The process still does not find thanks to the eyes of the father. Others might have abandoned. Sarah Carp perseveres.
The “Faceless” photographer “
“At one point. I told myself that I was going to redo the photos, make a kind of play. I found myself in a completely different project. It was necessary to exhibition: vaudoise photographer stirring her copy images. ” The photographer finds two young models and stages them to repeat the photographs she had taken spontaneously with her daughters.
She explains to them that it was necessary to take lines. a bit like in the cinema when it comes to waterfalls. “This gives more static, more plastic images.” But it still retains the initial idea of camouflaging the faces to recall the concept of prohibition. “There was a real transformation work. It pushed me to seek further, elsewhere, on other resonances. ”
Originally spontaneous, this image was particularly difficult to reproduce.
Sarah Carp
In the end. “faceless”, already hung last year at Images Veveypresents itself as a series that is both simple and complex. After the first raw effect of these images. the visual discomfort created by the paradoxical frames which cover the faces – closely, they make them indistinguishable, but by far they disappear and largely reveal the features – necessarily arises the question of original shots, which float like ghosts or a watermark on their double.
Landscapes, places or skies also dot the series “Faceless”.
Sarah Carp
As David Le Breton writes in after -effects: “The masking of children transforms them into representatives of a world in suspension. motionless, where there is no one, apart from silhouettes with blurred identity.” In the material with multiple layers of “faceless”. the viewer, however replaced, fills gaps, gives movement, without ever knowing what floor of meaning he crosses.
As Sarah Carp says herself: “It’s fiction, it’s a play. It’s about playing on the limit of what I can do, not do, tell, not tell. This is exhibition: vaudoise photographer stirring her where I like the game. ” Life and the concept come together.
Sarah Carp
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Exhibition: vaudoise photographer stirring her
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